Siff Young is jointly organised with the Cannes Marche.
Shanghai International Film Festival (Siff) announced the five directors who have been selected for Siff Young, a new talent support programme jointly organised by the Cannes Marche du Film, during the festival’s opening weekend.
Four of the filmmakers – Han Shuai, Liang Ming, Rao Xiaozhi and Wang Jing – attended the June 12 event in person, which was held as a forum with a live audience at the Crowne Plaza Hotel. The fifth is Hong Kong-based Derek Tsang who was unable to come in person due to pandemic travel restrictions.
The directors were...
Shanghai International Film Festival (Siff) announced the five directors who have been selected for Siff Young, a new talent support programme jointly organised by the Cannes Marche du Film, during the festival’s opening weekend.
Four of the filmmakers – Han Shuai, Liang Ming, Rao Xiaozhi and Wang Jing – attended the June 12 event in person, which was held as a forum with a live audience at the Crowne Plaza Hotel. The fifth is Hong Kong-based Derek Tsang who was unable to come in person due to pandemic travel restrictions.
The directors were...
- 6/14/2021
- by Silvia Wong
- ScreenDaily
Beijing-based company is launching sales on its latest title Almost A Comedy, scheduled for release on December 20.
Chinese production company Fun Age Pictures, which has produced local hits such as Hello Mr Billionaire, Never Say Die and Goodbye Mr Loser, has stepped into international sales at the inaugural H!Market of the 2nd Hainan Island International Film Festival.
The Beijing-based company is launching sales on its latest title Almost A Comedy, which reunites the co-directors of Fun Age’s Mr Donkey, Zhou Shen and Liu Lu, with their actress in that film, Ren Suxi, whose credits also include A Cool Fish.
Chinese production company Fun Age Pictures, which has produced local hits such as Hello Mr Billionaire, Never Say Die and Goodbye Mr Loser, has stepped into international sales at the inaugural H!Market of the 2nd Hainan Island International Film Festival.
The Beijing-based company is launching sales on its latest title Almost A Comedy, which reunites the co-directors of Fun Age’s Mr Donkey, Zhou Shen and Liu Lu, with their actress in that film, Ren Suxi, whose credits also include A Cool Fish.
- 12/4/2019
- by 1100978¦Silvia Wong¦0¦
- ScreenDaily
Chinese sci-fi hit “The Wandering Earth,” China’s Cannes competition film “Wild Goose Lake,” and Korea’s Palme d’Or-winning “Parasite” are among the nominees for the Aacta Award for best Asian film.
The nominees were announced on the margins of the Shanghai International Film Festival. The winners will be announced Dec. 4 at the Australian Academy of Cinema and Television Arts Awards ceremony in Sydney.
Other Chinese films in the running include “Pegasus”; Chinese-Hong Kong comedy-drama “The New King of Comedy”; animated fantasy film “White Snake”; Renny Harlin-directed “Bodies at Rest”; “Hidden Man”; Zhang Yimou’s “Shadow”; Hong Kong Film Award-winning action movie “Project Gutenberg”; dark comedy “A Cool Fish”; and mystery drama “Headlines.” Also included is the yet-to-be-released Australia-China co-production “The Whistleblower.”
From elsewhere in Asia, competing tiles include Indian action film “Uri: The Surgical Strike”; India’s foreign-language Oscar contender, “Village Rockstars”; Indian action comedy “The Man...
The nominees were announced on the margins of the Shanghai International Film Festival. The winners will be announced Dec. 4 at the Australian Academy of Cinema and Television Arts Awards ceremony in Sydney.
Other Chinese films in the running include “Pegasus”; Chinese-Hong Kong comedy-drama “The New King of Comedy”; animated fantasy film “White Snake”; Renny Harlin-directed “Bodies at Rest”; “Hidden Man”; Zhang Yimou’s “Shadow”; Hong Kong Film Award-winning action movie “Project Gutenberg”; dark comedy “A Cool Fish”; and mystery drama “Headlines.” Also included is the yet-to-be-released Australia-China co-production “The Whistleblower.”
From elsewhere in Asia, competing tiles include Indian action film “Uri: The Surgical Strike”; India’s foreign-language Oscar contender, “Village Rockstars”; Indian action comedy “The Man...
- 6/18/2019
- by Patrick Frater
- Variety Film + TV
Bong Joon-ho’s ‘Parasite’ is among the films in competition for the Aacta Best Asian Film Award.
The Australian Academy of Cinema and Television Arts (Aacta) has unveiled some of the films that will compete for a nomination for the 2019 Best Asian Film award.
The selected films were announced at a gala dinner in Shanghai, where Aacta is also hosting an China | Australia film forum and panel discussion as part of its ongoing Asia International Engagement Program.
The Best Asian Film award is designed to honour the finest films of the past year from 19 Asian regions, reflecting the popularity and importance of Asian films in Australia.
Among the Chinese-language films in competition is Australian-Chinese co-production The Whistleblower, which shot in Victoria late last year.
It will go up against the second highest-grossing film of all time in China, Frant Gwo sci-fi The Wandering Earth, as well as three of the...
The Australian Academy of Cinema and Television Arts (Aacta) has unveiled some of the films that will compete for a nomination for the 2019 Best Asian Film award.
The selected films were announced at a gala dinner in Shanghai, where Aacta is also hosting an China | Australia film forum and panel discussion as part of its ongoing Asia International Engagement Program.
The Best Asian Film award is designed to honour the finest films of the past year from 19 Asian regions, reflecting the popularity and importance of Asian films in Australia.
Among the Chinese-language films in competition is Australian-Chinese co-production The Whistleblower, which shot in Victoria late last year.
It will go up against the second highest-grossing film of all time in China, Frant Gwo sci-fi The Wandering Earth, as well as three of the...
- 6/17/2019
- by jkeast
- IF.com.au
It was the shot Chinese-American director Ren Wen had spent an entire day of his short 15-day shoot preparing for: a long take in which a supposedly sweet old woman brutally kicks the protagonist of the film out of the car, leaving him to die in the freezing night of a future world where the sun has flamed out.
But when Chinese censors handed “Last Sunrise” back to Ren with the single, vague piece of feedback that the film “showed too much of the darkness of humanity,” he realized the shot had to go. “The problem is they’re not specific, so we just had to cut whatever we thought they might find too dark or violent” — about four minutes of material, he says. More experienced Chinese colleagues had counseled him to cut more than he thought necessary. Not removing enough “shows that you have an ‘attitude problem,’ which will...
But when Chinese censors handed “Last Sunrise” back to Ren with the single, vague piece of feedback that the film “showed too much of the darkness of humanity,” he realized the shot had to go. “The problem is they’re not specific, so we just had to cut whatever we thought they might find too dark or violent” — about four minutes of material, he says. More experienced Chinese colleagues had counseled him to cut more than he thought necessary. Not removing enough “shows that you have an ‘attitude problem,’ which will...
- 5/14/2019
- by Rebecca Davis
- Variety Film + TV
It’s been a good year for Beijing Culture, one of the lead production companies behind some the biggest films of the year in China.
The company began as a tourism-management entity overseeing popular historic sites of interest in Beijing, and only established its film division in 2016. Yet in the space of three years, it has been a driving force behind China’s two top-grossing films of all time – “Wolf Warrior 2,” which took in $847 million, and “The Wandering Earth,” which grossed $686 million and is still in theaters – as well as mega-hit “Dying to Survive” ($462 million at the B.O.) and “A Cool Fish,” the 10th highest-grossing locally produced film last year with a $119 million gross.
Last year, Beijing Culture made a net profit of $48.7 million, up 6% year-on-year, thanks to a rise in the profitability of its film business compared to previous years, according to Chinese media reports.
The company...
The company began as a tourism-management entity overseeing popular historic sites of interest in Beijing, and only established its film division in 2016. Yet in the space of three years, it has been a driving force behind China’s two top-grossing films of all time – “Wolf Warrior 2,” which took in $847 million, and “The Wandering Earth,” which grossed $686 million and is still in theaters – as well as mega-hit “Dying to Survive” ($462 million at the B.O.) and “A Cool Fish,” the 10th highest-grossing locally produced film last year with a $119 million gross.
Last year, Beijing Culture made a net profit of $48.7 million, up 6% year-on-year, thanks to a rise in the profitability of its film business compared to previous years, according to Chinese media reports.
The company...
- 3/17/2019
- by Rebecca Davis
- Variety Film + TV
Netflix has acquired Chinese sci-fi blockbuster The Wandering Earth, taking global Svod rights excluding Mainland China. I understand the streaming service has also picked up 2nd run rights in North America (where Cmc Pictures has theatrical), Australia, New Zealand and Korea. Billed as the first Hollywood style sci-fi blockbuster out of the Middle Kingdom, the movie this past weekend became the No. 2 film ever at the Chinese box office with $560M local through Sunday. Through Wednesday, it had grossed $604M. That’s after just 16 days — and its run is not yet over.
Netflix does not operate directly in China, but previously had a now-expired relationship with streaming service iQiyi. I hear that the local streaming rights have gone to Youku which is also an investor in The Wandering Earth.
The film is adapted from a short story by The Three Body Problem’s Hugo Award winner Liu Cixin. It boasts...
Netflix does not operate directly in China, but previously had a now-expired relationship with streaming service iQiyi. I hear that the local streaming rights have gone to Youku which is also an investor in The Wandering Earth.
The film is adapted from a short story by The Three Body Problem’s Hugo Award winner Liu Cixin. It boasts...
- 2/21/2019
- by Nancy Tartaglione
- Deadline Film + TV
This week, China rings in the New Year, and as annual tradition has it, multiplexes will be stuffed with new local titles vying for big business during the lucrative holiday period. Of the more than 10 pictures releasing Tuesday, among the most anticipated are epic The Wandering Earth, which could be the breakout that ignites the homegrown sci-fi business; racing-themed comedy Pegasus from multi-talent Han Han; and Peppa Pig Celebrates Chinese New Year, based on the hugely popular kids character.
Check out The Wandering Earth‘s trailer above, and the others’ and more, below.
The Wandering Earth and Pegasus were the only films that held press screenings in the Middle Kingdom, and only the former had sneaks tonight, before tomorrow’s holiday begins in earnest. It grossed an estimated Rmb 14M ($2.08M), setting a new record for Chinese movies. But this is a wait-and-see game: With so much choice, alongside family commitments,...
Check out The Wandering Earth‘s trailer above, and the others’ and more, below.
The Wandering Earth and Pegasus were the only films that held press screenings in the Middle Kingdom, and only the former had sneaks tonight, before tomorrow’s holiday begins in earnest. It grossed an estimated Rmb 14M ($2.08M), setting a new record for Chinese movies. But this is a wait-and-see game: With so much choice, alongside family commitments,...
- 2/4/2019
- by Nancy Tartaglione
- Deadline Film + TV
China’s total box office revenue grew 9% in 2018 to $8.87 billion (RMB60.98 billion). But the rate of expansion was slower rate than the year before, when it rose 13.5%, state media and government reports said. Nevertheless, the country met its government-set 2018 box office target of RMB60 billion yuan in ticket sales on December 29.
Chinese-language films brought in $5.53 billion (RMB37.8 billion) in 2018, making up 62% of the total box office, the official Xinhua news agency said, citing data from the country’s State Film Administration as saying. In 2017, Chinese films accounted for 54% of the box office. China produced 1,082 films in 2018, up from 970 the year before, though not all received theatrical releases.
China is the world’s second-largest theatrical movie market, and is widely expected to surpass the North American sector in coming years. However, the uneven growth of recent years has undone numerous past forecasts of when that might happen.
China now boasts the...
Chinese-language films brought in $5.53 billion (RMB37.8 billion) in 2018, making up 62% of the total box office, the official Xinhua news agency said, citing data from the country’s State Film Administration as saying. In 2017, Chinese films accounted for 54% of the box office. China produced 1,082 films in 2018, up from 970 the year before, though not all received theatrical releases.
China is the world’s second-largest theatrical movie market, and is widely expected to surpass the North American sector in coming years. However, the uneven growth of recent years has undone numerous past forecasts of when that might happen.
China now boasts the...
- 1/2/2019
- by Becky Davis
- Variety Film + TV
Contemporary Chinese Cinema is a column devoted to exploring contemporary Chinese-language cinema primarily as it is revealed to us at North American multiplexes.Animal World2018 has been a remarkably strong year for Chinese language cinema, in terms of films on the international festival and arthouse circuit, retrospectives across the United States, and commercial films exhibited at multiplexes in a handful of North American cities. New movies from Jia Zhangke, Bi Gan (Long Day’s Journey Into Night), Wang Bing (Dead Souls), Hu Bo (An Elephant Sitting Still), Jiang Wen (Hidden Man) and Zhang Yimou (Shadow) electrified festival audiences around the globe, though none have as yet seen commercial release in North America. Rather than focus on these kinds of films, all of which have been covered elsewhere on the Notebook over the course of the year, this column has primarily been devoted to following those Chinese-language films that see small multiplex releases,...
- 12/17/2018
- MUBI
The Chinese box office is inching closer to the groundbreaking milestone of RMB60bn this year.
While the week of Dec 10-16 recorded a slight week-on-week drop of 2.4%, the Chinese box office inched closer to the groundbreaking milestone of RMB60bn ($8.72bn) as long as it could deliver another $218m within the next 15 days before the year closes.
Warner Bro’s Aquaman maintained a solid momentum in its second week and easily topped again with $93.1m, accounting for more than 70% of the week’s total box office. Its 10-day total of $186.2m has made it the fifth biggest foreign film...
While the week of Dec 10-16 recorded a slight week-on-week drop of 2.4%, the Chinese box office inched closer to the groundbreaking milestone of RMB60bn ($8.72bn) as long as it could deliver another $218m within the next 15 days before the year closes.
Warner Bro’s Aquaman maintained a solid momentum in its second week and easily topped again with $93.1m, accounting for more than 70% of the week’s total box office. Its 10-day total of $186.2m has made it the fifth biggest foreign film...
- 12/17/2018
- by Silvia Wong
- ScreenDaily
The decision to release “Aquaman” in China two weeks prior to its North American outing paid off handsomely. The DC Comics adaptation achieved a massive $94.1 million opening in three days, according to data from Asian entertainment consultancy Artisan Gateway.
The early release meant that the film played against weak opposition – tired Hollywood and Chinese holdovers and a small Chinese picture. That allowed it to achieve an 85% market share. National box office for the weekend was $108 million.
The opening figures represented the biggest weekend ever for a Warner Bros. title in China – the film was released in China through state-owned China Film Group – beating “Ready Player One” by 66%. It was also by far the best score for a DC Comics title, which are sometimes considered too dark for mainstream audience tastes in China, compared with Disney’s Marvel franchise. It beat “Justice League” by 92% and “Batman Vs Superman” by 78% and overtook...
The early release meant that the film played against weak opposition – tired Hollywood and Chinese holdovers and a small Chinese picture. That allowed it to achieve an 85% market share. National box office for the weekend was $108 million.
The opening figures represented the biggest weekend ever for a Warner Bros. title in China – the film was released in China through state-owned China Film Group – beating “Ready Player One” by 66%. It was also by far the best score for a DC Comics title, which are sometimes considered too dark for mainstream audience tastes in China, compared with Disney’s Marvel franchise. It beat “Justice League” by 92% and “Batman Vs Superman” by 78% and overtook...
- 12/10/2018
- by Patrick Frater
- Variety Film + TV
“Crazy Rich Asians” opened in a miserable eighth place at the Chinese box office over the weekend. Chinese crime thriller, “A Cool Fish” held on to its lead, in its third week of release.
Few analysts and commentators had been sure how “Crazy Rich Asians” would play. It had been the surprise package of the late summer in North America, and takes as its theme the lifestyles of wealthy Singaporean-Chinese. But hitting Chinese screens some four months after its stateside outing, the film lacked either freshness or star power. Exhibitors hedged their bets and initially gave it plenty of screenings, but slashed the screen count when it became apparent that it was not working.
Data from Artisan Gateway, Asian exhibition industry consultancy, showed the film earning just $1.2 million in three days, inclusive of online ticketing fees.
In contrast, the top film, “A Cool Fish” grossed $24.2 million, a figure almost unchanged from the previous weekend.
Few analysts and commentators had been sure how “Crazy Rich Asians” would play. It had been the surprise package of the late summer in North America, and takes as its theme the lifestyles of wealthy Singaporean-Chinese. But hitting Chinese screens some four months after its stateside outing, the film lacked either freshness or star power. Exhibitors hedged their bets and initially gave it plenty of screenings, but slashed the screen count when it became apparent that it was not working.
Data from Artisan Gateway, Asian exhibition industry consultancy, showed the film earning just $1.2 million in three days, inclusive of online ticketing fees.
In contrast, the top film, “A Cool Fish” grossed $24.2 million, a figure almost unchanged from the previous weekend.
- 12/3/2018
- by Patrick Frater
- Variety Film + TV
Nearly four months after its U.S. release, Warner Bros' summer box office phenom Crazy Rich Asians finally debuted in the world's largest Asian nation over the weekend. But the results from China, following much hype and speculation, were thoroughly underwhelming.
Crazy Rich Asians opened on 5,000 screens but earned just $1.2 million, making a dismal eighth-place start, according to Artisan Gateway.
Last week's winner, the edgy local dramedy A Cool Fish, easily held onto first place, taking $24.2 million for a three-weekend total of $90.1 million.
Sony's Venom, meanwhile, also held strong, adding $12.3 million ...
Crazy Rich Asians opened on 5,000 screens but earned just $1.2 million, making a dismal eighth-place start, according to Artisan Gateway.
Last week's winner, the edgy local dramedy A Cool Fish, easily held onto first place, taking $24.2 million for a three-weekend total of $90.1 million.
Sony's Venom, meanwhile, also held strong, adding $12.3 million ...
- 12/3/2018
- The Hollywood Reporter - Film + TV
Nearly four months after its U.S. release, Warner Bros' summer box office phenom Crazy Rich Asians finally debuted in the world's largest Asian nation over the weekend. But the results from China, following much hype and speculation, were thoroughly underwhelming.
Crazy Rich Asians opened on 5,000 screens but earned just $1.2 million, making a dismal eighth-place start, according to Artisan Gateway.
Last week's winner, the edgy local dramedy A Cool Fish, easily held onto first place, taking $24.2 million for a three-weekend total of $90.1 million.
Sony's Venom, meanwhile, also held strong, adding $12.3 million ...
Crazy Rich Asians opened on 5,000 screens but earned just $1.2 million, making a dismal eighth-place start, according to Artisan Gateway.
Last week's winner, the edgy local dramedy A Cool Fish, easily held onto first place, taking $24.2 million for a three-weekend total of $90.1 million.
Sony's Venom, meanwhile, also held strong, adding $12.3 million ...
- 12/3/2018
- The Hollywood Reporter - Movie News
Hollywood summer hit “Crazy Rich Asians” will be lucky to score more than $1 million in its opening weekend in China.
Afternoon admissions Friday had ranked the romantic comedy in fourth place. But by Friday evening, it became apparent that mainstream Chinese audiences’ interest was barely flickering for the movie, and on Saturday, exhibitors began ditching it in favor of other titles.
Estimates from local sources suggest only an eighth-place finish for “Crazy Rich Asians” over the weekend, with a performance far behind Chinese-made “A Cool Fish” and still-potent “Venom.” “Crazy Rich Asians“ earned about $410,000 on Friday and $400,000 on Saturday.
Although the film was a groundbreaking hit in the U.S. because of its all-Asian cast, it has few stars of significance in China. Its release in the Middle Kingdom also comes several months after the rest of the world. As the extent of the film’s disappointing performance at the box office became apparent,...
Afternoon admissions Friday had ranked the romantic comedy in fourth place. But by Friday evening, it became apparent that mainstream Chinese audiences’ interest was barely flickering for the movie, and on Saturday, exhibitors began ditching it in favor of other titles.
Estimates from local sources suggest only an eighth-place finish for “Crazy Rich Asians” over the weekend, with a performance far behind Chinese-made “A Cool Fish” and still-potent “Venom.” “Crazy Rich Asians“ earned about $410,000 on Friday and $400,000 on Saturday.
Although the film was a groundbreaking hit in the U.S. because of its all-Asian cast, it has few stars of significance in China. Its release in the Middle Kingdom also comes several months after the rest of the world. As the extent of the film’s disappointing performance at the box office became apparent,...
- 12/2/2018
- by Patrick Frater and Becky Davis
- Variety Film + TV
Chinese crime thriller, “A Cool Fish” climbed to the top of the China box office in its second week of release. Doing so, it held off the continuing performance of “Venom” and the opening sally of “Ralph Breaks the Internet.”
According to weekend data from Asian film and cinema consulting group Artisan Gateway, “A Cool Fish” hooked $25 million, inclusive of online service fees. That lifts its 10-day total to a cool $50 million.
“Ralph,” opening day-and-date with its North American Thanksgiving outing, and “Venom” in its third week, were neck and neck throughout the weekend and the difference between their final ranking was decided by fractions.
“Venom” scored $19.6 million, for a three-weekend cumulative of $243 million. “Ralph” came in at $19.5 million. That was ahead of the entire run of the franchise’s previous edition “Wreck-it-Ralph” and close to the $21 million opening score of “The Incredibles 2.”
“Johnny English Strikes Again” played some 10,000 locations and took fourth place.
According to weekend data from Asian film and cinema consulting group Artisan Gateway, “A Cool Fish” hooked $25 million, inclusive of online service fees. That lifts its 10-day total to a cool $50 million.
“Ralph,” opening day-and-date with its North American Thanksgiving outing, and “Venom” in its third week, were neck and neck throughout the weekend and the difference between their final ranking was decided by fractions.
“Venom” scored $19.6 million, for a three-weekend cumulative of $243 million. “Ralph” came in at $19.5 million. That was ahead of the entire run of the franchise’s previous edition “Wreck-it-Ralph” and close to the $21 million opening score of “The Incredibles 2.”
“Johnny English Strikes Again” played some 10,000 locations and took fourth place.
- 11/26/2018
- by Patrick Frater
- Variety Film + TV
Disney's Ralph Breaks the Internet only managed to make a midsize dent in China's box office over the weekend, opening in third place but still pulling in a respectable $19.5 million.
The Disney Animation Studios sequel opened to a smashing $84.5 million in North America, but it trailed holdover titles A Cool Fish and Sony's Venom in China, where big-budget animation tends to be hit-and-miss.
A Cool Fish, a crime drama-comedy directed by Rao Xiaozhi, gained momentum to top the weekend with $25 million. After two frames, the Emperor Motion Pictures-produced film has earned $50 million, according to leading ...
The Disney Animation Studios sequel opened to a smashing $84.5 million in North America, but it trailed holdover titles A Cool Fish and Sony's Venom in China, where big-budget animation tends to be hit-and-miss.
A Cool Fish, a crime drama-comedy directed by Rao Xiaozhi, gained momentum to top the weekend with $25 million. After two frames, the Emperor Motion Pictures-produced film has earned $50 million, according to leading ...
- 11/26/2018
- The Hollywood Reporter - Film + TV
Disney's Ralph Breaks the Internet only managed to make a midsize dent in China's box office over the weekend, opening in third place but still pulling in a respectable $19.5 million.
The Disney Animation Studios sequel opened to a smashing $84.5 million in North America, but it trailed holdover titles A Cool Fish and Sony's Venom in China, where big-budget animation tends to be hit-and-miss.
A Cool Fish, a crime drama-comedy directed by Rao Xiaozhi, gained momentum to top the weekend with $25 million. After two frames, the Emperor Motion Pictures-produced film has earned $50 million, according to leading ...
The Disney Animation Studios sequel opened to a smashing $84.5 million in North America, but it trailed holdover titles A Cool Fish and Sony's Venom in China, where big-budget animation tends to be hit-and-miss.
A Cool Fish, a crime drama-comedy directed by Rao Xiaozhi, gained momentum to top the weekend with $25 million. After two frames, the Emperor Motion Pictures-produced film has earned $50 million, according to leading ...
- 11/26/2018
- The Hollywood Reporter - Movie News
“Fantastic Beasts: The Crimes of Grindelwald” had another magical weekend at the foreign box office, generating $83.7 million for an international haul of $322.6 million.
The spinoff sequel has now crossed $439.7 million globally, with $116 million of that total coming from North America. Warner Bros., the studio behind the wizarding world films, anticipated that, like all prior “Harry Potter” movies, more than half of its box office revenues would come from international markets.
The magical action adventure had a particularly strong showing in Japan, where it debuted this weekend with $13 million on 1,008 screens. That ranks as the biggest opening this year for a Warner Bros. film in that territory. Germany also saw solid returns, pocketing $7.5 million this weekend for a cume of $23.2 million. In the United Kingdom, “Crimes of Grindelwald” brought in $7.2 million, taking its total in that market to $28.3 million.
The second “Fantastic Beasts” entry wasn’t the only film to hit a major milestone this weekend.
The spinoff sequel has now crossed $439.7 million globally, with $116 million of that total coming from North America. Warner Bros., the studio behind the wizarding world films, anticipated that, like all prior “Harry Potter” movies, more than half of its box office revenues would come from international markets.
The magical action adventure had a particularly strong showing in Japan, where it debuted this weekend with $13 million on 1,008 screens. That ranks as the biggest opening this year for a Warner Bros. film in that territory. Germany also saw solid returns, pocketing $7.5 million this weekend for a cume of $23.2 million. In the United Kingdom, “Crimes of Grindelwald” brought in $7.2 million, taking its total in that market to $28.3 million.
The second “Fantastic Beasts” entry wasn’t the only film to hit a major milestone this weekend.
- 11/25/2018
- by Rebecca Rubin
- Variety Film + TV
As it heads into its second weekend, “Fantastic Beasts: The Crimes of Grindelwald” looks set to fall well short of the box-office performance of the franchise’s first installment in China. That is despite a number of tailor-made attempts to woo Chinese audiences.
As of mid-afternoon Friday, six days after its release, “Grindelwald” had brought in about $46.3 million in the world’s second-biggest movie market. It was beaten at the box office Wednesday and Thursday by “Venom” and comedic Chinese crime thriller “A Cool Fish,” then dropped even further, to fifth place, by 3 p.m. Friday, muscled aside by new releases “Ralph Breaks the Internet” and “Johnny English Strikes Again,” starring Rowan Atkinson, who has a huge following in China.
2016’s “Fantastic Beasts and Where to Find Them” took in $86 million in China – nearly double the sequel’s current take – at a time when the country had significantly fewer screens than it has now.
As of mid-afternoon Friday, six days after its release, “Grindelwald” had brought in about $46.3 million in the world’s second-biggest movie market. It was beaten at the box office Wednesday and Thursday by “Venom” and comedic Chinese crime thriller “A Cool Fish,” then dropped even further, to fifth place, by 3 p.m. Friday, muscled aside by new releases “Ralph Breaks the Internet” and “Johnny English Strikes Again,” starring Rowan Atkinson, who has a huge following in China.
2016’s “Fantastic Beasts and Where to Find Them” took in $86 million in China – nearly double the sequel’s current take – at a time when the country had significantly fewer screens than it has now.
- 11/23/2018
- by Becky Davis
- Variety Film + TV
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